Uh-oh. Somebody better tell Wynton Marsalis, Leontyne Price, Ornette Coleman and the Modern Jazz Quartet (just to name a few) that they’re all traitors to their race.
Let me be blunt. This racist bullshit has to stop—racist because (a) it’s as feverishly anti-white as the Ku Klux Klan is anti-black, and (b) it reduces all black people to their “race”-and-grievances, and purports to represent them all, as if black people were a monolithic bloc as hostile to “white music”—and the “white arts” overall—as the BLM commandos who browbeat Oxford’s music faculty into taking this absurd position.
So learning to play the piano, and conduct orchestras, cause Oxford’s “students of colour great distress”? Really? Who found that out, and how? Was there a petition, or did BLM conduct a poll? And do the “students of colour” majoring in music at Oxford University really have a beef with learning to play the piano? If so, why? It can’t be that they lack the talent, since (it hurts to have to point this out) many “people of colour” have brilliantly mastered the piano, loved, and learned much from, the likes of Bach, Mozart and Beethoven, and significantly influenced the course of such “white” music, since the end of slavery in the US—because music ultimately transcends “race” as these “Social Justice” tools conceive it. So if those “students of colour” are in such “great distress” over the curriculum in Oxford’s music department, maybe they should change majors, or transfer to other schools.
How did “progressive” activists “of colour” push us back toward Jim Crow segregation in the arts (and not just there)? There are surely many reasons for this vast and dangerous regression, but paramount among them is the elite’s need to balkanize the rest of us, to keep us at each other’s throats, instead of theirs.